Wednesday, June 30, 2010

Each firing in an anagama kiln turns out differently. Even each piece in the kiln will be impacted differently depending on its location, shape... Fly ash from the burning wood coalesces on the surface of the pieces to produce a natural glaze. The inside of the teapot remains unglazed (picture left). The cover is placed on the teapot during firing to make sure that it keeps a good fit on the teapot. The clay appears natural, brown and rather fine. It feels hard, fired at a high temperature.

Cooperation and Maturity.David's teapot making skills have improved dramatically since I paid him a visit last year. He has listened carefully and embedded my advice in his pots without changing his style. The shapes are more harmonious. The tea flow from the spout is clean and quiet. The size is 19 cl for 233 grams approximately.

Thanks to the higher temperature reached in what David says was his best firing in the last 5 years, the teapot is less porous. I have tested it successfully with raw puerh and even classic roasted Dong Ding Oolong. Compared to the same Oolong brewed in a gaiwan, the tea felt fruitier and had a broader range of flavors. And most importantly, the taste acquired more depth and length.

Small cups.David Louveau de la Guigneraye also continues to make very free and rough cups of 4/5 cl (80 grams):

Contrary to porcelain, these cups don't give a feeling of finesse and lightness. However, I found that their natural clay and wood firing gave life, depth and power to the tea. But they are now a good match with light Oolongs: their porosity would absorb the flavors too much. But with puerh and roasted Oolongs, they add exuberance and wild power to the brew.

Update: The clay of these cups is mixed with sand, a coarser material that better withstands very high temperatures. The cups were then placed near the fire, at the entrance of the kiln. This is why their shape isn't evenly round. The fire was so strong, that it reshaped them and gave them these beautiful red colors.

Teapot number 2 (sold):Very similar to the above teapot. Size is also 19 cl for 233 gr more or less. This is a good example that shows that not 2 pieces come out the same for the anagama kiln.

I compared the gaiwan and teapot with the Dong Ding roasted Oolong this afternoon. When I wanted to continue to brew the tea tonight, the leaves in the gaiwan tasted old and a little sour. I disliked it and didn't drink it. However, with the teapot, I was able to enjoy 3 more brews! The porous and natural clay has helped to keep the open leaves fresh.

In a related test, I kept the spent raw puerh leaves in the teapot for a week and didn't notice any change during this time. These wood fired teapots preserve the leaves very well.

Tuesday, June 08, 2010

This Chinese wooden display stand is a good fit for my older wares. It helps recreate a more ancient and classic feeling in my modern apartment. It has become a nice background for my simpler Cha Xi.

My mind travels in time with the simple view of these teawares. By bringing them closer, I also have more opportunity to touch and use these items. They are not merely on display for aesthetic reasons ; their purpose is to come alive by being used.

And tea remains my focus. That's why there are mainly jars on the shelves. I continue testing their impact on the tea to determine which ones are the best suited to improve my teas. Currently, I am testing my fall 2009 Hung Shui Oolong from Feng Huang, near Dong Ding.

Wednesday, June 02, 2010

Yesterday, I fulfilled a tea drinker's dream: brewing tea in a tea plantation. I chose a spot a the edge of the jinxuan plantation above. A few stones between the jinxuan and the qingxin Oolong plantation (covered with grass) became my tea table. (See below). The view of the Wenshan mountains was clear. An fresh breeze helped to cool down the heavy afternoon sun.I chose a simple and light tea set to travel more easily. A gas heater and steel kettle are bringing the water to a boil while I adjust my accessories: a calligraphy gaiwan, 2 singing cups, a Japanese pewter jar and a bowl by Michel François.For such a special occasion, I wanted to brew a special tea, so I chose the Spring 2010 Shan Lin Shi Oolong contained in the jar.

As it started to brew the leaves, I noticed a tea farmer approaching. Well, the thought occured to me that I was trespassing on his property! For the glimpse of a moment I thought that I could be in trouble. In any other country, I probably would.

The farmer came right to me and I invited him to drink tea with me. He was curious and happy to see me here.This turned out to be a wonderful encounter. He told me of his various plantations and teas. I told him he would soon harvest this jinxuan field to make Oriental Beauty. This is why I wanted to drink tea here, in a plantation without pesticides or fertilizers. The conversation was very interesting. I could see that organic farming was quite important for this friendly farmer.

My High mountain Oolong was a little too light for him. Tea farmers tend to pack their gaiwans/teapots with lots of leaves, while I prefer to drink lighter. So, for my second tea, I chose a more traditional tea, with more flavor, and added more leaves. My 2010 Hung Shui Oolong from Shan Lin Shi was perfect. Sweet, smooth, delicate and energetic.

Wonderful! I felt elated sharing great teas in a perfect spot with a new tea friend.

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About Me

My name is Stéphane Erler. I live in Taiwan since 1996 and have been studying tea with Teaparker. He's a worldwide tea expert and author of over 30 tea books. The study of tea isn't just theoretical, but it's also rooted in daily practice. It's a path of continuous improvement. As my brewing technique improves I get access to better teas and better accessories. These things go hand in hand. My blog documents my learning since 2004. And I have set up an online tea boutique with my selection of top quality teas, accessories and tea culture.